omissions are, the Fair Maid of London and Edward IV. ; London's Ordinary; the Jovial Tinker; the Bashful Batchelor; Cordelia's Lamentation for the absence of Gerhard, with his Answer; A Pattern of true Love; Fortune my Foe; the Masterpiece of Love Songs; Mother and Daughter; Lord Thomas and fair Elinor; (Old Man's Complaint, a long poem, repeated in iii. 92); the Fryer well fitted; the Forlorn Lover; the Welsh Fortune-teller; "Moggie, now rejoyce," the Answer to Moggie's Misfortune; Young Man's Counsellor; Languishing Young Man, with Maria's kind Answer; the Dubb'd-Knight of the Forked Order; Faithful Jemmy; the Pensive Maid; Merry Bagpiper; Love's Tyrannick Conquest; the [Wolverhampton] Maiden's Tragedy; the Virgin's A.B.C., and the Young Man's A.B.C. All the rest we give.

In the Third and final Volume we come to a different class of broadsides, as already shown. Most of them are political, nearly all in white-letter, and without woodcuts. Those omitted here are either reserved for the Civil War series, or, being simply rhymed-poems, far removed from songs or ballads, were not necessary to be included. We made a few exceptions, where they were useful to complete our survey, and most of the others are briefly mentioned. One important group deserved special attention, if not reproduction: if not in the text, yet in this Appendix. We mean the Whore's Petition to the London Apprentices, 1668, beginning "Clear was the Day, though it proved blustering weather." 2-The 'Prentice's Answer, of same date, "Sad was the day, although clear was the weather." 3-The Citizen's Reply to the two former, of same date, "Now that you two have made your grievance known." 4-dated 1672, but perhaps a reprint from some 1668 first issue: the Poor Whore's Complaint to the Apprentices of London, commencing, "We who descended from that noble dame." No. 4 of these, although latest dated, seems the earliest. They are in Bagf. Coll., iii. 45, 46, 47, 48. They tell, coarsely enough, the story of those raids made by the London Apprentices against certain houses of ill-fame, wherein resided any such dangerous temptress as Mistress Milwood. Concerning such “ strange women the grave citizens uttered warnings, while ballad-mongers and play-wrights enforced the moral by the trite example of George Barnwell. These poems are curious, and need some day to be reprinted. We have been asked to add them, as a thin text, in 1879, and hope to do so, with Cranley's "Amanda."

We gave part of this on p. 318, and add the remainder on page 961.

We have a little Tinkering to do. First an Additional to page 5. JOHN WADE'S "Vinegar and Mustard, or, Wormwood Lectures for every day in the week," 1673, printed for Willm. Whitwood, has been reprinted (modernised in spelling) in Reeves and Turner's Old Book-Collector's Miscellany, vol. iii., 1873. It was a nearly-two-centuries' anticipation of Mrs. Caudle's Curtain Lectures. The woodcut is reproduced in J. P. Collier's Book of Roxburghe Ballads, 1847, p. 89. Our p. 5, line 10 should read Another copy of Wade's 'Come, young men,' &c., is in Wood's Coll., E 25, fol. 131. P. 150 has his 'Tis Money,' &c. We have ourselves examined the Douce Collection, i. 67, ii. 145, and find that The Maiden's Sad Complaint' is certainly not by Wade; for instead of being signed J. W., it is clearly L. W. These initials, L.W., are on John and Betty-Come, sit thee down, dear:' Rawl. 566. f. 96. (Wade's Reformation is fol. 151; and in Wood's Coll., E 25, fol. 57.) "

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If we take from Wade one ballad, we now give him three others instead. In Wood's Coll., E 25, fol. 29, is "The West-Cuntry Crafty Maid, or the lusty brave Miller finely trapanned. By John Wade. Printed for W. Thackeray at the Sugar Loaf." To the tune, What should a Young Woman do with an Old Man? It

begins, "You Millers and Taylors, and Weavers each one." gets chopped horse-hair and nettle-seed, strews them in a bed, to which she allures him while she stays away, and he gets punished for his evil designs. Another, signed in full John Wade, in the same vol., fol. 129, begins “O, what's the reason my Love doth complain?" To a new tune, or the Pinckt Pettycoat. It is entitled, The Young Man's Answer to the Faithful Maid. Another, fully signed "John Wade," is in Wood's Coll., E 25, fol. 2, and entitled "A Serious Discourse between Two Lovers." It begins, "My pretty little Rogue, do but come hither." To the tune of, When Sol will cast no light; or, [I am so] deep in love. It was printed for Richard Hardy, at the Horshoo in West-Smithfield, who issued ballads in 1681.

We give "The Maid is best," &c., at end of this Appendix.

Page 28. "Bryng us in no browne bred" is given complete, with music, the same as a "Nowell," in Mr. Chappell's Pop. Mus., pp. 40, 41; earlier, in Percy Society's vol. xxiii. 63, Thomas Wright's Songs and Carols from MS. of the 15th century. The inferior version is on p. 102, from Ritson's Ancient Songs.

Page 33 (and p. 803). In the sentences of pillory-exposure mention was made of the culprit being placed to face certain places successively. In the woodcut introduced on p. 944, from Harman's Caueat or Warening for Commen Corsetors, 1567, we see the contrivance by which the pilloried delinquent could be shifted round, like the sails of a windmill, to receive fresh contributions of odorous gifts.

Page 34. We hope that we have found the black-letter ballad which gave name to the tune of "The Beating of the Drum.” It was written by Abraham Miles, and is adorned with a book woodcut representing Dick Tarleton playing on pipe and tabor: (the same is in J. P. Collier's Book of Roxburghe Ballads, 1847, p. 54). It is entitled "A Wonder of Wonders; being A true relation of the strange and invisible Beating of a Drum at the house of John Mompesson, Esquier, at Tidcomb [i.e. Tidworth] in the County of Wiltshire. . . The first time it began to beat Roundheads and Cuckolds come dig come dig. Also the burning of a drum that was taken from a Drummer: Likewise the manner how the Stools and Chairs danced about the Rooms. The Drummer is sent to Glocester Gaol. Likewise a great conflict betwixt

the evil Spirit and Anthony a lusty Country fellow. To the tune of Bragandary." Printed for William Gilbertson: "mense Februar: 1662," adds Anthony à Wood. It is in his Collection, 401, article 194. There are three plus eleven verses, of which we give here the commencement:

All you that fear the God on high,

amend your lives and repent,

These latter dayes shew Doome-days nigh,
Such wonders strange are sent.

Of a strange wonder shall you hear,
at Tidcomb within salt Wiltshire.

O news, notable news,

Ye never the like did hear.

"Bragandary," or "Southampton," meets us again, as the name of a tune in Wood's Coll., E. 25, fol. 17, "A Description of Wanton Women." The ballad begins, "You that in verses do delight, I here have some to read.' Printed for F. Coles, Vere, Wright, and Clarke; with burden,

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O women, wanton women,
What do they mean to do?

Compare the burden, "O Women, monstrous women!" (p. 429). Thus, we find that the tune " Beating of the Drum may have been the same as that known as "O man in desperation,' or "O Women, monstrous women!" which is something gained. There is a slight difference of rhythm in the second half of the verse, but not more than could be accommodated by the voice. If this be not the right "Beating of the Drum," others must seek the ghostly Tambour.

"Dub-a-Dub" is named as a tune, in Douce Coll., ii. 198.

Page 46, note. We return to the subject of "Sir John Johnson's Farewell" on p. 556. See also p. 1002, "Russell's Farewell."

Page 63. The original woodcut of the boy (at Oxford, in 4to. Rawlinson, 566, fol. 29) represents a pretty little fellow.

Page 70. The Deptford Plum-Cake. Deptford, between

Rotherhithe and Greenwich, on the borders of Kent, bore an evil reputation for mischances to conjugal fidelity, from an early time. We seldom find the name mentioned of old except in connexion with frail wives. The coarse humour of a ballad, The Deptford Frollick, or, a Hue and Cry after Shag-Breeches (Roxb. Coll., ii. 104; iv. 40), which begins, "One night when blustering winds

blew cold," is of late date. Earlier appeared the somewhat wiredrawn pleasantry of Cornucopiae; or, Pasquil's Night-Cap, by N. B. (probably not Nicolas Breton, although long attributed to him, it is more in Sam. Rowland's vein, and will appear soon in Dr. A. B. G.'s Occasional Issues), which is of 1612 and 1623. Pasquil's Palinodia, 1619, was the sequel, apologetic, after a sort, for Cornucopia. The name hints at the subject, being the Horr of Plenty or Cuckold's Horn. There was a "Horn-Fair" held at Charlton annually: it was intended for quadrupedal horned cattle, but bipedal rushed in. Cornucopia gives a long account of Cuckhold's Haven and Cuckhold's Point, a landing-place on the Thames below Greenwich and before Gravesend; the pillar there erected to Fortune, garnished with horns by the Kentish LongTails; the boat-wreck on the Thames, and the successful wooing of Kate by the Iron-monger. She outwits him in the same manner as our erring "Lass of Lynn" inveigled George the Tapster (see p. 467); but Kate's husband manages to make the parents give a compensating dowry. The ironical praise of Cuckolds, and the definite assertion of their being legion, may be studied with advantage by mature students, who do not believe that the Cornucopia was a new ornament, introduced into London Society until after the Restoration by the gay Cavaliers.

John Taylor, the Water-Poet, mentions the ruinous and neglected state of the Horned-pillar, which had been described in Cornucopia. The passage from Taylor's folio of 1630 is given by Archdeacon Nares, Glossary, i. 212, edit. 1876, beginning thus:And passing further, I at first observ'd

That Cuckholds-Haven was but badly serv'd;
For there Old Time had such confusion wrought,
That of the ancient place remained nought. &c.

Page 91. The date in square brackets may be safely limited to 1684-88.

Page 94.

"Wully and Georgy" was certainly of date before 1701; the tune being thus entitled and the notes issued in an edition of Playford's Dancing-Master.

Page 97.

In line 17, a comma had slipt in at the last moment, unperceived, after the word Miles. It should read "Miles Prance," on whom see pp. 669, 679, etc.